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Folklore on the Stage
Harrigan and Hart's shows of the 1870's and 1880's, which could be considered to be the precursors to the modern musical, were partially improvised and drew from the tales that workmen told to each other. The urban folklore drew in the blue collar audience, because it told stories that they recognized, but with a twist when the artists ad-libbed.
This urban folklore existed alongside remnants of rural folklore - the tales where the individualistic cowboy tugged and pulled against the American frontier, in a contest of so-called masculine will. Folklore is something that has great symbolic value to a community, and as such entertainment that tapped into this could manufacture empathy for the performance, which early stage shows often did. The vaudeville performers could engender a fellowship by including elements of folklore that audience members grew up with.
By the late 19th century an influx of southern and eastern European migrants arrived in the USA and brought their own stories, and the vaudevillians from these populations drew on the folklore from their backgrounds when performing. For example, Yiddish dramatists such as Joseph Lateiner and Moyshe Hurwitz, changed by biblical tales and popular plays through changing settings, names and characters to suit their Yiddish audience. Actors were frequently only supplied with outlines and ad-libbed to fill in the script, so that rich and varied stories came to the fore. The foreign language entertainment, filled with traditional tidbits, would've also helped foreigners to acclimatize tot heir new environment.
Folklore also developed on-stage. Performer believed it was bad luck to whistle in the dressing room, and that putting shoes on the bed or futon would lead to calamity. Throwing away old shoes, or seeing a bird on the windowsill could also lead to a bad performance. Good luck, on the other hand, could be obtained with the obligatory "break a leg",wearing undershirts inside out, or by touching a hunchback.
The first generation of stage of performers drew heavily on the folklore of their rural or immigrant families. This was enhanced by the fluid nature of early stage performance, the intimate relationship between audience and artist and the fact that it created a link between all parties involved. As the entertainment industry grew more rigid this aspect became diminished and faded more from view.
Thank you for reading!
Variety and vaudeville shows took off in popularity in the 19th century, where audiences were exposed to a variety of stories through these entertainment forms. The stage became a space where performers from different countries and backgrounds could share their experiences and stories.
Folklore on the Stage
Harrigan and Hart's shows of the 1870's and 1880's, which could be considered to be the precursors to the modern musical, were partially improvised and drew from the tales that workmen told to each other. The urban folklore drew in the blue collar audience, because it told stories that they recognized, but with a twist when the artists ad-libbed.
This urban folklore existed alongside remnants of rural folklore - the tales where the individualistic cowboy tugged and pulled against the American frontier, in a contest of so-called masculine will. Folklore is something that has great symbolic value to a community, and as such entertainment that tapped into this could manufacture empathy for the performance, which early stage shows often did. The vaudeville performers could engender a fellowship by including elements of folklore that audience members grew up with.
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| An open air vaudeville performance during World War I |
By the late 19th century an influx of southern and eastern European migrants arrived in the USA and brought their own stories, and the vaudevillians from these populations drew on the folklore from their backgrounds when performing. For example, Yiddish dramatists such as Joseph Lateiner and Moyshe Hurwitz, changed by biblical tales and popular plays through changing settings, names and characters to suit their Yiddish audience. Actors were frequently only supplied with outlines and ad-libbed to fill in the script, so that rich and varied stories came to the fore. The foreign language entertainment, filled with traditional tidbits, would've also helped foreigners to acclimatize tot heir new environment.
Folklore also developed on-stage. Performer believed it was bad luck to whistle in the dressing room, and that putting shoes on the bed or futon would lead to calamity. Throwing away old shoes, or seeing a bird on the windowsill could also lead to a bad performance. Good luck, on the other hand, could be obtained with the obligatory "break a leg",wearing undershirts inside out, or by touching a hunchback.
The first generation of stage of performers drew heavily on the folklore of their rural or immigrant families. This was enhanced by the fluid nature of early stage performance, the intimate relationship between audience and artist and the fact that it created a link between all parties involved. As the entertainment industry grew more rigid this aspect became diminished and faded more from view.
Thank you for reading!
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